Displaying items by tag: Exhibition

The Courtauld Gallery is presenting the first major museum exhibition in over 20 years of one of the 20th Century’s most exceptional artists, Egon Schiele (18901918). A central figure of Viennese art in the turbulent years around the First World War, Schiele rose to prominence alongside his avant-garde contemporaries, such as Gustav Klimt and Oskar Kokoschka. He produced some of the most radical depictions of the human figure created in modern times, reinventing the subject for the 20th Century. The exhibition charts Schiele’s short but transformative career through one of his most important subjects – his extraordinary drawings and watercolors of male and female nudes.

"Egon Schiele: The Radical Nude" concentrates on the artist’s drawings and watercolors. It brings together an outstanding selection of works that highlight Schiele’s technical virtuosity, highly original vision and uncompromising depiction of the naked figure.

The Royal Academy is to present the first blockbuster of the year, and expectations are high for this exhibition of Flemish baroque painter Peter Paul Rubens – an artist who painted everything from family portraits to ceilings including at Banqueting House in Whitehall. But the artist is known for his feast of color, violence, eroticism and history that entranced the rulers who paid him to decorate palaces across early 17th-century Europe, and not least his sensuously fleshy female nudes and the term they spawned: "Rubenesque."

The artist was also a scholar, a self-made gentleman and noted diplomat who used his connections with royal patrons to broker deals on behalf of European powers. From the French Romantic painter Delacroix, whose works owe Rubens everything, to Picasso, who claimed to dislike Rubens but was obviously influenced by him, this exhibition promises to be a truly stupendous celebration of a the artist's onfluence; the exhibition will look at how Rubens has inspired of great artists during his lifetime and over the proceeding centuries.

"Adventures of the Black Square: Abstract Art and Society 1915 – 2015" is a major new exhibition tracing a century of Abstract art from 1915 to the present day, and is to open at the Whitechapel Gallery, London. The exhibition brings together over 100 works by 100 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Aleksandr Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel, taking over six exhibition spaces across the gallery.

The show is curated by Iwona Blazwick OBE, Director, and Magnus af Petersens, Curator at Large, Whitechapel Gallery, "Adventures of the Black Square: Abstract Art and Society 1915 – 2015," is international in its scope.

Over 30 masterpieces from the celebrated Frick Collection will be seen outside New York for the first time as part of a special exhibition at the Mauritshuis in The Hague in 2015.

"The Frick Collection – Art Treasures from New York" will be the first major exhibition to be displayed in the new wing of the Mauritshuis following the opening exhibition of the museum in 2014. The exhibition will give visitors to the Mauritshuis a fascinating insight into the history of The Frick Collection and its founder, wealthy American steel magnate Henry Clay Frick (1849—1919). The works selected for the exhibition are masterpieces from the 13th to 19th centuries, which include not only paintings, but also drawings, sculpture and decorative arts, reflecting the outstanding quality and diversity of The Frick Collection. They perfectly complement the Mauritshuis’s own collection which focuses on Dutch art of the Golden Age.

The High Museum of Art has announced the final installment in its series of “American Encounters” exhibition collaborations with the Louvre, Arkansas’ Crystal Bridges Museum of American Art, and the Chicago and Paris-based Terra Foundation for American Art.

“The Simple Pleasures of Still Life, ” the fourth exhibit in the four-year project, will run at the High from Sept. 26, 2015 to Jan. 31, 2016. The intimate show will focus on how late 18th- and early 19th-century American artists adapted European still-life tradition to the taste, character and experience of their younger country.

The Norton Museum of Art announces the opening of the exhibition, "Coming into Fashion: A Century of Photography at Condé Nast." Essentially a hip, visual history of the evolution of fashion photography, the exhibition runs through Sunday, Feb. 15, 2015. The Norton is the first (and at this time) only venue in the U.S. where the public can see what Norton curator of photography Tim B. Wride describes as, “this visually stunning and historically important show.”

Originating in Europe, culled from the Condé Nast archives, and organized by the Foundation for the Exhibition of Photography, Minneapolis/Paris/Lausanne, "Coming into Fashion" includes 150 stellar images created by 80 of the world’s most renowned fashion photographers during a period of nearly 100 years. Most of these images appeared in the popular magazines, "Vogue," "Glamour," "Vanity Fair," and "W."

“Picturing Mary” is the most ambitious exhibition mounted by the National Museum of Women in the Arts in years, and given its subject — images of the Virgin Mary — it is likely to be one of its most popular as well. It opens in the middle of the Christmas season, when the subject of Mary is particularly resonant, and it includes more than 60 works, some of them by the most celebrated artists of the Renaissance and baroque eras, including Michelangelo, Botticelli, Caravaggio and Dürer. If this show, which opens Friday, doesn’t fill the museum’s galleries with throngs of visitors, nothing will.

The subject is vast, and doing it justice in one exhibition is impossible. One might organize such a show based on the archetypal narrative moments in Mary’s life — the Annunciation, the Pieta, the Assumption — that have inspired artists for centuries.

What sets so-called atemporal painting apart from painting that might be less kindly characterized as derivative or regurgitative? In her catalog essay for “The Forever Now,” a 17-artist exhibition which opens at the Museum of Modern Art on December 14, curator Laura Hoptman traces the definition of atemporality to sci-fi novelist William Gibson, for whom the term captures “a new and strange state of the world in which, courtesy of the Internet, all eras seem to exist at once.” While some might lump such a phenomena under the larger banner of postmodernism, Hoptman does not. “Unlike past periods of revivalism, such as the appropriationist eighties, this super-charged art historicism is neither critical nor ironic; it’s not even nostalgic. It is closest to a connoisseurship of boundless information, a picking and choosing of elements of the past to resolve a problem or a task at hand.”

The Margulies Collection is organizing an Anselm Kiefer exhibition that is due to open next autumn, in time for the 2015 edition of Art Basel in Miami Beach. The show in the Warehouse, the non-profit institution’s space in Miami’s Wynwood Arts District, will feature a monumental installation by the German-born, French-based artist, which he created specially for his major retrospective at London’s Royal Academy of Arts (until 14 December).